天国到人世的殊途

发布时间：2018-01-25 11:30

本文关键词： 宗教艺术唐代佛寺壁画世俗化意大利教堂壁画文艺复兴人文主义　出处：《山东师范大学》2009年硕士论文　论文类型：学位论文

【摘要】： 由于地理环境、社会环境以及人文环境的差异,不同民族、不同地区的文化就必然有不同的特质。世界上任何一个国家或民族都创造了灿烂而富有特色的民族文化,文化的民族性奠定了世界文化的多样性,又决定了文化交流的可能性和必要性,世界文化的差异性和一体性就是在这种文化交流中涌现出来的。差异是交流的前提,任何文化交流都是在对差异的发现中进行的,只有积极地了解不同文化的不同特点,才能较好地去把握中西绘画的特质。以文化的比较为基础,会给人以哲理性的、更加深入的思考。佛教与基督教在人类历史上的影响甚巨,本文试图探讨这两种宗教的壁画艺术特点及其人文精神传统,所选取的中国唐代与意大利文艺复兴两个时代,分别是东西方历史上宗教艺术较为繁荣的时期,并且同属宗教理想与人生现实的碰撞、融合期。壁画图像在表征历史神话和宗教教义方面的不同艺术表现形式与方法,提供了一种视角独特的佛教与基督教的比较性研究路径。宗教艺术的繁荣是中国和欧洲历史上都曾经历过的现象,本文选取的两个实例,都在各自的宗教艺术发展中具有较高的代表性。其中,意大利文艺复兴时期的教堂壁画,被认为是基督教与人文主义表现结合时期最伟大的宗教绘画样式;而唐代佛寺壁画,则被认为是佛教与中国儒教结合以后带有封建政治烙印的艺术杰作。本文立足于对二者宗教传达所属的文化语境的把握,阐述中国与意大利(欧洲)在历史、文化、宗教、哲学等背景下的绘画语言表达的差异,显然,这种差异是十分清晰的。同时,中国唐代和意大利文艺复兴时期在各自的宗教发展史上,有一共同特点,即都处于宗教“世俗化”时期,也即宗教文化与民族历史、现世生活融合的时期,这就为二者的可比性提供了论述依据和生活空间。这也正是本文研究的一点特点所在:从宗教的视角来解读艺术样式对文化的折射,以及东西方不同的历史、文化、民族诸背景下的艺术面貌。不同的宗教文化具有不同的符号象征体系,绘画艺术正是一个合适的进行跨文化比较的合适的文化符号。西方宗教精神与中国宗教精神的异质是泾渭分明的:一个是超脱的,纯精神的和神权至上的;一个是物质化的,带有现世色彩,功利性和宣扬君权的作用。宗教活动在客观上起到了激发社会精神需求的作用,所以无论在东方或西方,宗教信仰的兴起总是伴随着艺术创作的繁盛。佛教自两汉传入中原,至隋唐进入本土化、世俗化时期。大量摄取儒、道等中国传统文化的思想内容和方法,孕育出了宣扬因果轮回、纲常伦理、忠孝节义等的中国化宗教样式,反映了佛教对中国文化的兼容性,以及外来佛教与中国本土文化的融合性。意大利文艺复兴时期的人文主义精神,是在基督教精神仍然主导人们的内心世界的情况下逐渐生成的。当时大量的宗教活动不但活跃了当时的文化生活,也为艺术创作提供了新的创作契机和动力。在人文思想兴起的时候,基督教主题在文化艺术中仍然被更广泛地接受,这是基督教社会深层文化积淀的反映,基督教对彼岸世界的描绘深入人心,随时都在暗示人们注意自己灵魂的归宿,并在壁画创作中依托宗教神话题材而得到表现,实现了传统与现实的完美结合。论文从人物表情状态、造型、色彩等诸方面论证了唐代寺院壁画与意大利文艺复兴时期教堂壁画的异同。文艺复兴时期的美术求真实与现实之美,在手法上更写实,观察和表现也都更贴近现实。他们用浓厚的生活情调削弱了神与人的距离,强调了神的博爱,回避了神的权威。他们可以将现实的人与生活带入到基教的故事中去,将宗教的光环放到真实的生活中。表明在这些艺术家看来,基督教所倡导的精神就在现实生活中,人本身就具有宗教所追求的崇高精神。文艺复兴的宗教艺术就是在这样一个新的“宗旨”下,用不同于中国唐代壁画的手法,但同样虔诚认真的刻画宗教故事,表达宗教思想。艺术与宗教一样,一方面它是某种特定文化生长出来的果实;另一方面,它又是对自身以及生养它的文化的评判。文艺复兴时期的美术追求基于现实的理想之美,而唐代绘画艺术追求神性在现实的体现,是一种虔诚的现实之美。两者用不同的手法,但同样虔诚认真地刻画宗教故事,表达出属于特定时代的思想。
[Abstract]:Due to the geographical environment, social environment and cultural differences, the environment of different nationalities, different regions of the culture will have different qualities. The world of any country or nation has created a splendid and distinctive ethnic culture, ethnic culture has laid the cultural diversity of the world, and determines the possibility and necessity of cultural exchange, diversity and integration of world culture is emerging in the cultural exchanges. The difference is the precondition of communication, any cultural exchange is in the difference in the different characteristics, only positive solutions of different cultures, in order to better grasp the characteristics of Chinese and Western painting. Comparison of culture as the foundation, can give a person with philosophical, more in-depth thinking.
The influence of Buddhism and Christianity in human history is very huge, this paper attempts to explore these two religious mural art characteristics and the traditional humanistic spirit, the Chinese Tang Dynasty and the Renaissance in Italy two times, respectively, when the period of Western history of religious art is more prosperous, and the collision, belong to the same religious ideal and the reality of life the mural image fusion period. In the characterization of historical myths and religious teachings of different art forms and methods, provides a unique perspective of Buddhism and Christianity of the path.
Religious art is the prosperity of China and European history have experienced the phenomenon, this paper selects two examples, the representative is high in their religious art development. Among them, the Italy Renaissance fresco, considered Christianity and humanism with the greatest period of religious paintings style; and the Tang Dynasty Buddhist temple murals, is considered after Buddhism and Confucianism combined with China feudal political brand works of art.
This paper based on the two religion belongs to convey the cultural context of Chinese grasp, and Italy (Europe) in history, culture, religion, etc. obviously, the expression of philosophy under the background of the painting language, this difference is very clear. At the same time, Chinese Tang Dynasty and the Renaissance in Italy in the development of religion the history, have a common feature, namely in the period of religious secularization, namely religious culture and national history, life during fusion, which can be described as the two basis and provide living space than sex. This is the point where the characteristics: Interpretation of refraction artistic style of culture from a religious perspective, and history, Eastern and Western cultures, the nation under the background of the appearance of art.
Different religious cultures have different symbolic system, and painting art is a suitable cultural symbol for cross-cultural comparison.
The heterogeneity of Western religious spirit and China religious spirit is quite distinct from each other: one is detached, the pure spiritual and theocratic supremacy; one is the material of the world, with color, utilitarian and promote monarchical role. Religion plays a role in stimulating the social spiritual needs objectively, so in terms of East or west, the rise of religious belief is always accompanied by the prosperity of the art creation.
Buddhism spread to China from the Han Dynasty to the Sui and Tang Dynasties, into the localization of secular period. Large quantities of Confucianism, the thought content and method etc China of traditional culture, gives birth to preach karma, feudal ethics, filial piety and the China religious style, reflects the compatibility of Buddhism on Chinese culture, and the integration of Buddhist and Chinese the local culture.
Italy Renaissance humanism spirit, in the spirit of Christianity still dominate people's inner world situation gradually generated. When a large number of religious activities not only enlivened the cultural life, but also provides opportunities for creation and new impetus for artistic creation. With the rise of humanism and Christian themes are still more widely accepted in culture and art, which is a reflection of the Christian social deep cultural accumulation, on the other side of the world depicted Christian people, always implied in the attention of his soul, and have been relying on religious mythology in the fresco, realizes the perfect combination of tradition and reality.
The expressions of the characters, shape, color and other aspects of the Tang Dynasty temple murals and demonstrates the similarities and differences between the Italy Renaissance church murals. Renaissance art and the beauty of truth and reality, in the way to more realistic, observation and performance are more close to the reality. They weaken the distance between God and man with the strong life atmosphere, emphasis on God's fraternity, avoided the authority of God. They can be people and the reality of life into the basic story to the religious aura in real life. It appears in these artists, Christianity advocated by the spirit in the real life, people themselves with the lofty spirit of religious pursuit. Religious art of the Renaissance is in such a new "purpose", different from the Tang Dynasty Murals China practices, but also seriously depict pious religious stories, religious expression Thought.
Art and religion, on the one hand it is a particular cultural growth of the fruit; on the other hand, it is on their own and have its cultural judgment. Renaissance art pursuit based on the reality of the ideal of beauty, and the Tang Dynasty painting art pursuit of divinity in reality, is a devout reality beauty. Two different methods, but also carefully depict pious religious stories, express a specific age thought.

【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：B91

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